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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

NAB Surprises

joelnet said:
Hmm... half of video is audio. We might be able to hear our way to the RED booth.
Click to expand...

Haha... Joel, you are so right, it should be thunderous in more ways than one, it also seems I need to learn to spell. :bye2:
 
Any opinions?

Any opinions?

Any opinions on how 1080p for high speed shooting would mix with 4K Redcode?

MikeCurtis said:
Thom - my understanding is that the 1080pRGB is unprocessed - all that has happened is a demosaic and downsample - so that should give you plenty of room to color manipulate in post. While RGB is three channels of data to record not just RAW's one, it is about 1/4 the pixels, so the math works out that you should be able to have lots of datarate available to create a high quality image. In my mind, I'm confident that for speeds over 30p, 1080pRGB will be the way to go to maintain your depth of field and get a high quality image. That said, this might be a problem for early adopters (1-100 serial #s) until RGB gets all worked out.

-mike
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"Any opinions on how 1080p for high speed shooting would mix with 4K Redcode?"

guessing - depends on if the project is mastered 4k or HD and/or if it is for film or HD release and/or if viewing is on 40 ft screen or 40inch monitor ...
 
I would say that if you shoot 1080p60 derived from the 4K frame and then constructed your entire project at 1080p/2K from other footage derived from 4K, it will all match and look beautiful.

If you're trying to cut the 1080p footage with other shots at 4K, it's going to show. Or at least will show in a quality film-out or 4K projection. If you're delivering to HD or 2K, I doubt anyone will notice.
 
MikeCurtis said:
Thom - my understanding is that the 1080pRGB is unprocessed - all that has happened is a demosaic and downsample - so that should give you plenty of room to color manipulate in post. While RGB is three channels of data to record not just RAW's one, it is about 1/4 the pixels, so the math works out that you should be able to have lots of datarate available to create a high quality image. In my mind, I'm confident that for speeds over 30p, 1080pRGB will be the way to go to maintain your depth of field and get a high quality image. That said, this might be a problem for early adopters (1-100 serial #s) until RGB gets all worked out.

-mike
Click to expand...

Mike,

Based on your math do you think 60fps RGB 1080p with no compression should be able to be streamed to the Red Ram or Red Disk with no problem?

720p to 120fps? If so, this is amazing!

As a 500+ serial number I should have this feature from day one!

Thom
 
They're blocking off the street in front of the convention center for this...
448_1174077914.jpg


Remember they said they were going to blow some fresh air ? Hold on to your pocket protectors.


:Guinness:
 
Would love to hear how the Red Raid is coming. That will be as magical as the Camera.
 
Playback

Playback

david farland said:
....can I playback through the camera, any footage from any RED storage module.
If my footage has been backed up to the laptop, then playback becomes a problem.
If I can backup to the REDDRIVE, I can then play of all my saved footage back out through the camera.
....
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Can I playback footage throught the camera?

Was raised again on CML

Cheers,
 
david farland said:
Can I playback footage through the camera? from CML [...]
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Obviously a desirable feature. It does seem like the workflow adapts to the tools at hand, though... not easy to playback immediately if you were shooting film. Except through a separate video tap system, which you could do with Red a few different ways as well.
 
zak forrest said:
no, what is that again?

also whatever this thing is, is it in LOW light? or just natural light?


i am hoping to see some footage at NAB where they pushed the camera to its limits in some dim situations.
Click to expand...

Hi Zak,

Hope that you are well, love those early reservation numbers! Now, I am talking about the shoot at Pomona, when Jarred, Ted, Jim and ( I do not know the other guys name-- very sorry), took frankie out to shoot the Oakley Time Bomb whippin' ass and ending a seven year drought to win the funny car championship while using the 300mm RED prime. Here is the thread---please enjoy
http://http://www.reduser.net/forum/showthread.php?t=578
 
All of the footage we plan to show will be shot on one of the RED ONE prototypes (not Frankie). All footage will be shot REDCODE RAW.

Jim

9_1174450172.jpg
 
New picture! New picture! Oh, god!

[blows it up in Photoshop, looks for details]

1: How can somebody be so angry looking while holding such a camera? Cheer up, Jarred.
2: I guess the top mounting point mystery is solved. The mounting points appear to face forwards and backwards instead of towards the side as they used to.
3: Just how much of an Oakley discount did you give that man?
4: Two USB ports below the HDMI? Where'd SD go?
5: Which is Boris, which is Natasha?
 
Its nice to finally see a RED pic with a human scale factor.
Thanks!
I was wondering if there will be any kind of environmental (dust) seals over the connectors? And/Or any seals els-ware to protect the innards?
 
"Boris" is black and "Natasha" is silver... naturally. :-)

Jim
 
Jannard said:
All of the footage we plan to show will be shot on one of the RED ONE prototypes (not Frankie). All footage will be shot REDCODE RAW.

Jim
Click to expand...

Thank you for the correction Jim, I was under the wrong assumption. Sorry Zak.
BTW great pic (insert expletives and adjectives here) and thank you Jim for not going completely dark!

Cheers

Benz
 
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